Yr Dead is a queer, Jewish, diasporic bildungsroman told in lyric fragments through the eyes of the character Ezra. The world of the book unfolds as Ezra's life flashes across time and geography during their final act of protest. The novel leaps from memories of childhood, gender identity formation, and political revelation to the inherited memory and historical movements of Ezra's family. This book explores how historical memory shapes our political and emotional present as it exists at the intersections of protest, religion, and desire.

First Love: Essays on Friendship is a bracing, intimate essay collection that delves into the power and complexity of female friendship in the wake of violence. Authored by the critically acclaimed Lilly Dancyger, this book emerges from the tragic murder of her cousin Sabina, which profoundly altered her understanding of womanhood and rippled through her closest friendships.

The loss of Sabina, her first love, serves as a catalyst for a bold and refreshing exploration of the connections between women. Dancyger examines the intensity of adolescent best friendships, fluid sexuality, mothering, and chosen family. Each essay is deeply rooted in a significant female friendship from her life, reaching outwards to challenge cultural assumptions about feminine identity and desire, and the ways in which women support one another in a world that often seeks to diminish them.

With seamless integration of personal anecdotes, literature, and pop culture references—from fairytales and true crime to the works of Anaïs Nin and Sylvia Plath, and even the 'sad girls' of Tumblr—Dancyger's essays weave a multifaceted narrative of a life as told through the lens of friendships. This collection is a profound exploration of the essence of loving one another and elevates friendships to the status of love stories, offering them the deep consideration traditionally reserved for romantic relationships.

First Love argues that although friendship cannot shield us from the dangers of the world, the love found within it is always worth the risk. In times of tragedy, Dancyger reminds us, it is our friends who provide the support necessary for survival. Through First Love, the invaluable bonds of friendship are celebrated and given their rightful recognition.

Why grassroots data activists in Latin America count feminicide—and how this vital social justice work challenges mainstream data science. What isn’t counted doesn’t count. And mainstream institutions systematically fail to account for feminicide, the gender-related killing of women and girls, including cisgender and transgender women.

Against this failure, Counting Feminicide brings to the fore the work of data activists across the Americas who are documenting such murders—and challenging the reigning logic of data science by centering care, memory, and justice in their work. Drawing on Data Against Feminicide, a large-scale collaborative research project, Catherine D’Ignazio describes the creative, intellectual, and emotional labor of feminicide data activists who are at the forefront of a data ethics that rigorously and consistently takes power and people into account.

Individuals, researchers, and journalists—these data activists scour news sources to assemble spreadsheets and databases of women killed by gender-related violence, then circulate those data in a variety of creative and political forms. Their work reveals the potential of restorative/transformative data science—the use of systematic information to, first, heal communities from the violence and trauma produced by structural inequality and, second, envision and work toward the world in which such violence has been eliminated.

Specifically, D’Ignazio explores the possibilities and limitations of counting and quantification—reducing complex social phenomena to convenient, sortable, aggregable forms—when the goal is nothing short of the elimination of gender-related violence. Counting Feminicide showcases the incredible power of data feminism in practice, in which each murdered woman or girl counts, and, in being counted, joins a collective demand for the restoration of rights and a transformation of the gendered order of the world.

Why grassroots data activists in Latin America count feminicide—and how this vital social justice work challenges mainstream data science. What isn’t counted doesn’t count. And mainstream institutions systematically fail to account for feminicide, the gender-related killing of women and girls, including cisgender and transgender women. Against this failure, Counting Feminicide brings to the fore the work of data activists across the Americas who are documenting such murders—and challenging the reigning logic of data science by centering care, memory, and justice in their work.

Drawing on Data Against Feminicide, a large-scale collaborative research project, Catherine D’Ignazio describes the creative, intellectual, and emotional labor of feminicide data activists who are at the forefront of a data ethics that rigorously and consistently takes power and people into account. Individuals, researchers, and journalists—these data activists scour news sources to assemble spreadsheets and databases of women killed by gender-related violence, then circulate those data in a variety of creative and political forms. Their work reveals the potential of restorative/transformative data science—the use of systematic information to, first, heal communities from the violence and trauma produced by structural inequality and, second, envision and work toward the world in which such violence has been eliminated.

Specifically, D’Ignazio explores the possibilities and limitations of counting and quantification—reducing complex social phenomena to convenient, sortable, aggregable forms—when the goal is nothing short of the elimination of gender-related violence. Counting Feminicide showcases the incredible power of data feminism in practice, in which each murdered woman or girl counts, and, in being counted, joins a collective demand for the restoration of rights and a transformation of the gendered order of the world.

Traces Of Enayat is a brilliant work of creative nonfiction from one of the preeminent poets of the Arab-speaking world, exploring the mysterious life and erasure of Egyptian literature's tragic heroine. Cairo, 1963: four years before her lone novel is finally published, the writer Enayat al-Zayyat takes her own life at age 27. In the following decades, it's as if Enayat never existed.

Years later, celebrated Egyptian poet Iman Mersal discovers Enayat's long-forgotten Love and Silence in a Cairo book stall, leading her on a journey of reflection and rediscovery. Through interviews with family members and friends, Mersal retraces Enayat's life and afterlife, tracking down the places where Enayat spent her days. From the glamour of golden-age Egyptian cinema to the Cairo of Mersal's own past, a remarkable portrait emerges of two women striving to live on their own terms.

Traces Of Enayat embraces the reciprocal relationship between a text and its reader, between past and present, between author and subject, crafting a luminous biographical detective story.

From a global icon, a bold, essential account of how a fear of gender is fueling reactionary politics around the world.

Judith Butler, the groundbreaking thinker whose iconic book Gender Trouble redefined how we think about gender and sexuality, confronts the attacks on “gender” that have become central to right-wing movements today.

The aim of Who’s Afraid of Gender? is not to offer a new theory of gender but to examine how “gender” has become a phantasm for emerging authoritarian regimes, fascist formations, and transexclusionary feminists. In their vital, courageous new book, Butler illuminates the concrete ways that this phantasm of “gender” collects and displaces anxieties and fears of destruction. Operating in tandem with deceptive accounts of “critical race theory” and xenophobic panics about migration, the anti-gender movement demonizes struggles for equality, fuels aggressive nationalism, and leaves millions of people vulnerable to subjugation.

An essential intervention into one of the most fraught issues of our moment, Who’s Afraid of Gender? is a bold call to refuse the alliance with authoritarian movements and to make a broad coalition with all those whose struggle for equality is linked with fighting injustice. Imagining new possibilities for both freedom and solidarity, Butler offers us a hopeful work of social and political analysis that is both timely and timeless.

In Dead Weight, Emmeline Clein tells the story of her own disordered eating alongside, and through, other women from history, pop culture and the girls she's known and loved. Tracing the medical and cultural history of anorexia, bulimia, binge eating disorder, and orthorexia, Clein investigates the economic conditions underpinning our eating disorder epidemic, and illuminates the ways racism and today's feminism have been complicit in propping up the thin ideal.

While examining goop, Simone Weil, pro-anorexia blogs, and the flawed logic of our current methods of treatment, Clein also grapples with the myriad ways disordered eating has affected her own friendships and romantic relationships.

Dead Weight makes the case that we are faced with a culture of suppression and denial that is insidious, pervasive, and dangerous, one that internalizes and promotes the fetish of self-shrinking as a core tenet of the American cult of femininity. This is replicated in our algorithms, our television shows, our novels, and our relationships with one another. A sharp, perceptive, and revelatory polemic for readers fascinated by the external forces shaping our lives, Dead Weight is electrifying, unapologetically bold, and fiercely compassionate.

The #1 New York Times bestselling historical novelist delivers her magnum opus—a landmark work of feminist nonfiction that radically redefines our understanding of the extraordinary roles ordinary women played throughout British history.

Most histories have been written by men, about men, relegating women—with the exception of a few queens—to the shadows of time. Now, bestselling author Philippa Gregory reveals the importance of ordinary women, providing a more balanced and truer chronicle that expands and adds rich detail to the story of Great Britain.

In Normal Women, Gregory draws on an enormous archive of primary and secondary sources to rewrite British history, focusing on the agency, persistence, and effectiveness of everyday women throughout periods of social and cultural transition. She sweeps from the making of the Bayeux tapestry in the eleventh century to the Black Death in 1348—after which women were briefly paid the same wages as men, the last time for seven centuries—to the 1992 ordination of women by the Church of England, when the church accepted, for the first time, that a woman could perform the miracle of the mass.

Through the stories of the female soldiers of the civil war, the guild widows who founded the prosperity of the City of London, highwaywomen and pirates, miners, ship owners, international traders, the women who ran London theaters and commissioned plays from Shakespeare, and the "female husbands" who married each other legally in church and lived as husband and wife, Gregory redefines "normal" female behavior to include heroism, rebellion, crime, treason, money-making, and sainthood. As she makes clear, normal women make history.

Normal Women will include black-and-white illustrations throughout and a full-color insert.

From the New York Times bestselling author of The Recovering and The Empathy Exams comes the riveting story of rebuilding a life after the end of a marriage—an exploration of motherhood, art, and new love.

Leslie Jamison has become one of our most beloved contemporary voices, a scribe of the real, the true, the complex. She has been compared to Joan Didion and Susan Sontag, acclaimed for her powerful thinking, deep feeling, and electric prose. But while Jamison has never shied away from challenging material—scouring her own psyche and digging into our most unanswerable questions across four books—Splinters enters a new realm.

In her first memoir, Jamison turns her unrivaled powers of perception on some of the most intimate relationships of her life: her consuming love for her young daughter, a ruptured marriage once swollen with hope, and the shaping legacy of her own parents' complicated bond. In examining what it means for a woman to be many things at once—a mother, an artist, a teacher, a lover—Jamison places the magical and the mundane side by side in surprising ways: pumping breastmilk in a shared university office, driving the open highway in the throes of new love, growing a tender second skin of consciousness as she watches her daughter come alive to the world.

The result is a work of nonfiction like no other, an almost impossibly deep reckoning with the muchness of life and art, and a book that grieves the departure of one love even as it celebrates the arrival of another.

How do we move forward into joy when we are haunted by loss? How do we claim hope alongside the harm we've caused? A memoir for which the very term tour de force seems to have been coined, Splinters plumbs these and other pressing questions with writing that is revelatory to the last page. Jamison has delivered a book with the linguistic daring and emotional acuity that made The Empathy Exams and The Recovering instant classics, even as she reaches new depths of understanding, piercing the reader to the core. A master of nonfiction, she evinces once again her ability to "stitch together the intellectual and the emotional with the finesse of a crackerjack surgeon" (NPR).

This American Ex-Wife: How I Ended My Marriage and Started My Life is a deeply validating manifesto on the gender politics of marriage and divorce in America today, presenting an argument that the former needs a reboot. Journalist and proud divorcée Lyz Lenz delivers an exuberant and unapologetic account, flipping the script on the media's portrayal of divorced women.

Studies indicate that nearly 70 percent of divorces are initiated by women—women who seek liberation from relationships premised on their fundamental inequality. Through a combination of reportage, sociological research, literature, and popular culture, this book weaves personal stories of union and separation to create a kaleidoscopic portrait of American marriage.

Lenz pushes for a collective reevaluation of the institution, challenging the notion that divorce is a personal failure when, in fact, it may be a practical and powerful solution for women to reclaim the power they deserve. This raucous manifesto for acceptance, solidarity, and collective female refusal offers readers a riveting ride, all the while pointing toward a future of greater freedom.

An iconic writer's lapidary memoir of a life spent pursuing a dream of artistic truth while evading the truth of her own gender identity, until, finally, she turned to face who she really was. For a long time, Lucy Sante felt unsure of her place. Born in Belgium, the only child of conservative working-class Catholic parents who transplanted their little family to the United States without ever entirely settling here, she only really felt at home when she moved to New York City in the early 1970s. In that feral moment, she found her people among a band of fellow bohemians picking their way through the wreckage. Some of her friends would die young, to drugs and AIDS, and some would become jarringly famous.

Sante flirted with both fates, on her way to building an estimable career as a writer. But in the deepest sense, she still felt like her life a performance. She was presenting a façade, even to herself. Sante's memoir braids together two threads of personal narrative: the arc of her life, and her recent step-by-step transition to a place of inner and outer alignment. It is a story with many twists and turns: however necessary and long overdue her embrace of womanhood was, it was nonetheless a fearful business, filled with pitfalls and pratfalls.

Sante brings a loving irony to her account of her unsteady first steps; there was much she found she still needed to learn about being a woman after some sixty years cloaked in a man's identity, in a man's world. She had found herself, widening the aperture of her heart in the bargain. A marvel of grace and empathy, I Heard Her Call My Name parses with great sensitivity many issues that touch our lives deeply, of gender identity and far beyond.

Renowned journalist and author Elizabeth Flock delves into a topic that many shy away from, challenging our notions about the role and necessity of female-led violence in opposing systems that are fundamentally against women. The Furies: Women, Vengeance, And Justice is a profound inquiry into the lives of three women who, facing failure from the very institutions designed to safeguard them—government, police, courts—resorted to violence to reclaim power, safety, and freedom.

The book presents immersive narratives of Brittany Smith, a young woman from Stevenson, Alabama, who, after claiming to have killed a man in self-defense against rape, was denied protection by the Stand-Your-Ground law; Angoori Dahariya, who leads a gang in Uttar Pradesh, India, avenging victims of domestic abuse; and Cicek Mustafa Zibo, a member of an all-female militia that confronted ISIS in Syria.

Through Flock's compelling prose and extensive on-the-ground research, this work explores the nuances of whether women's safety can ever be fully ensured without the use of force. It asks hard-hitting questions about the effectiveness of vengeance, the potential for creating lasting change within misogynistic and paternalistic systems, and the vision of societies where women wield real power.

The Furies ignites a conversation about gender equality, power dynamics, and the celebrated yet complex legacy of women who fight back.